“Every time I survived a war zone, I thought I was sending a warning home. ‘Don’t do this’. But here we are.” – Lee
Alex Garland’s Civil War was often overlooked, or misunderstood, during its theatrical run in 2024. Everyone had their own preconceived notions of what the film would try to convey. Some worried that it was intended to glorify the horrors of social discourse, while others expected the story to point a finger at their own political beliefs. Despite this, audience members found themselves leaving the theater thinking exactly the same thing. Nobody would enjoy living in a time like that what Garland had shown them.
The film is about a small group of journalists and their harrowing road trip to Washington D.C. Their goal is to interview the President of the United States, who took actions that tore that country apart. We can detach real world politics from the story, as the film goes its entire runtime without saying “democrat”, “conservative”, “liberal”, or “republican”. The fictional war includes the union of Texas and California as the “Western Forces” who stand against a tyrannical administration that made enemies of United States citizens. These two states traditionally share conflicting ideologies in terms of the real world, but in Alex Garland’s vision, their partnership helps the audience take in more of what comes with a civil war instead of who causes it.
When an experienced war photographer, Lee, and her journalist partner, Joel, hear word that the Western Forces are closing in on the president, they decide to make the journey from New York City to Washington D.C. in an attempt to interview him as the war comes to a close. Before they leave the city, they find themselves accompanied by an older journalist, Sammy, and a fresh faced photographer, Jessie, who’s eager to prove that she has what it takes to work in the field. Lee, played by Kirsten Dunst, voices her concerns with Joel, who invited the newcomers after a night of drinking. Against Lee’s wishes, the party of four begin their 857 mile road trip.
On their way, the four members of the press witness vigilante justice taken out on looters who were attempting to feed their families, and eventually come under fire by a rogue sniper who appears to be shooting at anything that moves. The horrors of the Civil War are coming from absolute chaos, as fringe groups with their own motives seize the opportunity to act out their own ideological goals. From a scene in which we see a citizen militia take joy in executing soldiers of the Western Forces, to a moment where another militia is caught in the midst of an ethnic cleansing… Alex Garland bluntly points out the clear reasons why nobody, regardless of their beliefs, would face the conflict in a black and white manner. The lines are blurred, and the war turns the nation into an open opportunity for something more akin to “The Purge” than a traditional military conflict.
Not everything is so bleak in Garland’s look at a potential dystopia. Lee and her party stop off at a refugee camp for displaced Americans, where caring people offer a place to rest and eat. Another community they pass through seems to carry on as though nothing is happening at all. People still walk their dogs, kids play in the streets, and shops are still open. The pleasantries end as the group finally reach D.C. in the final act. As they close in on the White House, so do the Western Forces. The goal has remained the same, and they find themselves in the midst of the conflict during the last push.
This final act is what solidifies Civil War as an action film. It’s regularly praised for its accurate depiction of modern warfare in an urban environment, getting everything from the visuals to the sounds down accurately. This alone motivated me to put Garland’s latest directorial work, Warfare, on my must-see list. Every gun fire, explosion, and military vehicle’s sound design heightens the tension in Civil War’s final moments before everything comes to a quiet end. The sound track strikes a perfect balance as well, often delivering upbeat music in contrast to grim visuals. This keeps the movie from feeling too oppressive while giving the audience a tour through man-made Hell.
Kirsten Dunst gives one of the best performances of her career. She even helped create the film’s most tense moment by convincing her husband, actor Jesse Plemons, to take on the role of an unnamed soldier, who’s caught burying citizens in a mass grave. Plemons was put off by the role, but Dunst talked him into it which brought us a chilling moment the film will almost always be known for. While being questioned by the soldier, Joel tells him, “Please sir, I’m an American.” Plemons scratches his face and calmly replies, “Alright. What kind of American are you?” A question which echoes the themes of the movie.
The film beautifully displays contrast by showing innocent characters like Jessie in front of vibrant colors as they witness soldiers being escorted to execution. Visual cues can be found in the clothing worn. As Lee softens, she begins wearing lighter colors. When Jessie becomes cold to the conflict, she wears black. Where Joel goes from smiling during most of the conflict, to screaming in cinematic silence, and finally being the most serious man on screen. The war changes everyone, character and viewer alike. And the film’s message is simple: Don’t do this.
Simply put, I cannot recommend this movie enough. In my mind, it’s Garland’s best effort yet. I move on to his latest film, Warfare, with confident optimism, knowing he’ll take the subject matter seriously.